Absence and presence; A practice led investigation into the spaces and relationships within the House at Kettle's Yard, Cambridge.

这个以实践为主导的研究项目是由导演Michael Harrison邀请我为Kettle’s Yard的房子制作一个新的作品体，它回应了剑桥的环境和收藏。最终的作品将在2008年9月至11月期间在Kettle's Yard的房子里与收藏品一起展出。展览将附有一份记录艺术作品及其装置的研究和发展的出版物。还将举行画廊讲座和正式演讲，进一步向广大观众阐明本研究的想法。该项目将探索回应这一简要的过程，从而揭示通过绘画、照片、视频和书面观察收集视觉信息的方法，以测试命题并制作最终的艺术品。该项目旨在展示我的美术实践的反思性，并向更广泛的受众开放我的工作方法。之前受邀参与设计的艺术家包括Douglas Allsop、Richard Deacon、Michael Craig-Martin和Edmund de Waal。Jim Ede的住宅位于剑桥的Kettle’s Yard，是英国现代主义艺术作品的主要收藏之一，具有国际地位，包括Henry Moore、William Scott、Ben Nicholson、Brancusi和Gaudier-Brzeska等人的重要作品。它的重要性还在于住宅作为一个整体的概念，它提出了一种在家庭环境中将艺术视为整体的独特方式。在房子里，艺术品、雕塑、绘画、版画和素描与自然物体、家具和人工制品一起展示，以一种建议和鼓励特定阅读的方式。物体的放置旨在通过建筑和光线的作用建立动态关系。我自己的作品以物体和它们之间的空间为中心，以及我的图像的家庭性质，符合这个概念，并使这个项目在这个环境中具有特殊的意义。它也为观看我的作品提供了一个理想的环境。导演迈克尔·哈里森（Michael Harrison）在邀请函中承认了这一点，“我觉得邀请你特别合适，因为你的作品与埃德的关注有很强的联系，尤其是对静物和家庭、物体的力量、它们之间的空间和它们投下的阴影的强调，以及对等级制度的缺乏。”“这个项目的主要目标是通过室内的视觉和反思性研究来揭示和探索我的工作过程，从而通过雕塑和印刷来完成作品。”我的工作方法将包括在我位于伦敦的工作室中创造一个沉浸式的环境，这些材料收集自我在剑桥的房子里拍摄的照片、视频、绘画和反射笔记。这些将为房屋内特定位置的新作品的制作提供原始材料，展示间隔，负空间和光线可以作为艺术作品的元素。通过这个项目，我希望提供一些见解，不仅是对我自己的工作实践，而且建议艺术家干预收藏的价值，以提供对现有艺术品和收藏的新理解。

Absence and Presence: a practice led investigation into an artist's intervention within the House at Kettle's YardSummaryThis practice led research project is centred on an invitation from the Director, Michael Harrison for me to make a new body of work for the house at Kettle's Yard, which responds to the environment and collection in Cambridge. The resulting work will form an installation of new art works to be exhibited in the house at Kettle's Yard alongside the collection, between Sept-Nov 2008. The exhibition will be accompanied by a publication documenting the research and development of the art works and their installation. There will also be gallery talks and a formal presentation to further articulate the ideas of this research to a broad audience. The project will be concerned with exploring the process of responding to this brief and consequently reveal the methods of gathering visual information through drawings, photographs, videos and written observations, in order to test propositions and make final artworks. The project aims to demonstrate the reflective nature of my fine art practice and open up my working methods to a wide audience. Previous artists that have been invited to respond to the house include, Douglas Allsop, Richard Deacon, Michael Craig-Martin and Edmund de Waal. The house at Kettle's Yard Cambridge, the home of Jim Ede, contains one of the leading collections of modernist artworks in the UK and is of international standing containing key works by amongst others, Henry Moore, William Scott, Ben Nicholson, Brancusi, and Gaudier-Brzeska. Its importance also lays in the conception of the house as a whole, which proposes a unique way of viewing art as a totality within a domestic environment. Within the house, artworks, sculptures, paintings, prints and drawings, are displayed alongside natural objects, furniture and artefacts in a way to suggest and encourage particular readings. Placements of objects are intended to set up dynamic relationships augmented by the architecture and play of light. My own work centred as it is on objects and the spaces between them, as well as the domestic nature of my imagery, fits into this concept and makes this project within this setting, of particular significance. It also provides an ideal context for the viewing of my work. This is acknowledged in the letter of invitation from the director, Michael Harrison, 'It strikes me that inviting you is particularly apt in that there are strong connections between your work and Ede's preoccupations / notably the emphases on still life and the domestic, on the potency of objects, the space between them and the shadows they cast, and on the lack of hierarchy.'A principle objective in this project is to reveal and explore my working process through visual and reflective research gathering within the house, leading to works to be made through both sculpture and print. My working method will consist of creating an immersive environment in my studio in London of material gathered from photographs, videos drawings and reflective notes made in the house in Cambridge. These will provide source material for the making of new works for particular locations within the house, demonstrating the manner in which interval, negative space and light can be used as elements to inform artworks. Through this project it is hoped to provide insights, not only to my own working practice but also to suggest the value of artists interventions into collections in order to provide new understandings of existing artworks and collections.